Moving from the skin
From Contactencyclopedia
by Dieter Heitkamp (translation: Alexandra Barrett)
Are there specific qualities of movement associated with the skin? What does skin contribute to communication in dance? What movements result when the impulse to move is triggered by a stimulus applied on the skin? How are stories created that get under your skin or actually take place there? These are questions that have interested me for some time in my artistic projects and in my work teaching Contact Improvisation . In the dance-video-music-performance „AugenBlickLicht“(Instantaneous Light), performed at an intimate evening of dance at Tanzfabrik in Berlin in 1995, some colleagues and I began exploring movement as Hautsache (literally, a skin matter). We used surveillance cameras to record , indeed, right down into the mucus membrane of the throat. Then, in 2000, inspired by the 'FREMDKÖRPER' (Foreign Body) exhibition at the Hygiene Museum in Dresden, I created the piece, 'SUBKUTANE ELEGIE' (Elegy underneath the skin) with students of contemporary and classic dance at the Academy of Music and Performing Arts in Frankfurt am Main. It was also there that I choreographed the piece, HAU(S)T (Skin / Home) during the 2002 summer semester. One of the most important elements of Contact Improvisation is communication by touch, both by touching and by being touched, in the course of which a wide range of information is exchanged through the skin. In 2001 and 2002 I organized a series of workshops—an Exploratorium—on the topic: CONTACT IMPROVISATION- MOVING FROM THE SKIN’. In the following article, I’ll describe some of the experimental set-ups I offered in this Exploratorium, which I hope will make people curious enough to experiment for themselves. To begin, I will outline some of the information I verbally shared with the participants as they moved during Experiment One. As far as the biological imagery is concerned, please note that not every image works for every person. For some people limiting the number of images can be helpful, others may find an "overload" of images useful, but in any case, participants are encouraged to "let go" of images that do not work for them.
Notes on Skin
As the body's outer boundary, the skin is not merely a simple shell. Rather, in accordance with its manifold functions, it is a highly complex entity. The skin carries out various biological functions: It inhales and exhales. It secretes and excretes. It maintains muscle tone. It activates and stimulates our respiration, circulation, and digestion. It serves to hold the body together. It protects the body from the harmful effects of bacteria and various liquids. It protects the body from the sun and from cold and regulates body temperature. It provides a framework for our sense of touch. It is a key organ in sexual attraction and interaction It is our surface and our visible appearance
The skin forms the material boundary of each individual, and yet it is through it that we connect with the outer world, that we touch and experience our environment.
"The skin has the largest surface of any of the body's organs. In an adult man, it covers, on average, an area of roughly one and a half square meters and weighs around three kilograms, accounting for six to eight percent of body weight. An area of skin the size of a penny consists of around three million cells, one hundred sweat glands, ninety centimeters of blood vessels, and almost the same amount again of lymph vessels. " (Deane Juhan: Körperarbeit (Job’s Body). Die Soma-Psyche-Verbindung. Munich 1992, p. 102)
The Ego-Skin
One of the departure points of the Exploratorium is the book, le Moi-Peau (The Ego-Skin), by psychologist Didier Anzieu, in which he describes the three different functions of the skin: The skin has the function of a vessel which contains and retains within you the wealth of positive experiences you gained when your mother nursed, cared for, and spoke to you. The second function of the skin is that of a boundary; it creates a barrier to the outside world and protects us from penetration, from the expression of greed and aggression of other people and objects. In its third function, the skin – no less than the mouth – is the site and the primary means of communication and the development of meaningful relationships. According to Anzieu , the Ego-Sin helps the infant form a concept of itself as an individual being from ist experience of ist own body surface. The skin creates a surface that is sensitive to stimuli, a surface on which our experiences of relationships can engrave themselves. From these epidermal and proprioceptive roots, the ego is enabled to both erect barriers (which become physical defense mechanisms) and to control the flow of information (to the id, the super-ego, and the outside world).
Anzieu sees the Ego-Skin as an image which helps the infant form a concept of itself as an individual being from its experience of its own body surface. (Compare Editorial on Didier Anzieu: Das Haut-Ich. Frankfurt a.M. 1996, p. 2)
Body Systems
Another departure point for this Exploratorium is Bonnie Bainbridge Cohen’s Body-Mind Centering (BMC). Through the study of BMC, I see the contents of the container formed by the skin as including the organs, bones, muscles, body fluids and glands, as well as the images and experiences we have collected from early childhood. Each of these systems leads to entirely different qualities of movement and supports a differentiated range of expression in the medium of dance. In her book „Sensing ,Feeling and Action“ Cohen describes the different systems within the body and the qualities of movement with which they are associated. I give a few examples here:
On the skeletal system: "The skeletal system gives our body the basic form through which we can locomote through space, sculpt and create the energy forms in space that we call movement, and act on the environment, relating with other forms around us." (Bonnie Bainbridge Cohen: Sensing, Feeling and Action. The Experiential Anatomy of Body-Mind Centering. Northampton 1993. p. 2)
On the muscular system: "Through the muscular system we embody our vitality, express our power, and engage in the dialogue of resistance and resolution." (Bonnie Bainbridge Cohen: Sensing, Feeling and Action. The Experiential Anatomy of Body-Mind Centering. Northampton 1993. p. 3)
On the fluid system: "Fluids are the system of liquidity of movement and mind. They underlie presence and transformation, and mediate the dynamics of flow between rest and activity." (Bonnie Bainbridge Cohen: Sensing, Feeling and Action. The Experiential Anatomy of Body-Mind Centering. Northampton 1993. p. 34)
Touch
"The environment touches our skin, and its qualities are transformed into messages that we interpret as heat, cold, pleasure, pain, comfort, pressure, etc. We can respond to these messages through reflex, instinct, or choice. Through our skin we also touch the world and express something of who we are and how we feel; in this contact we gain feedback from the world about ourselves." (Linda Hartley: Wisdom of the Body Moving. An Introduction to Body-Mind Centering. Berkeley 1995, p. 133)
There is a wonderful exercise relating to touch that I did for the first time in a seminar on videodance with Lisa Nelson, who has worked extensively with dance and the senses. The exercise involves four steps of a few minutes each and is restricted to touching the bare arms and hands. Two people sit across from each other. Person B offers their hand and arm to be touched.
1) Person A touches Person B’s hand and forearm with their own in order to bring sensation to him/herself. 2) Person A touches Person B in order to explore the surfaces of B. 3 & 4) Then the roles are reversed.
This exercise clearly demonstrates how different intentions of touch create different qualities of sensation and movement.
"We can never touch just one thing; we always touch two at the same instant, an object and ourselves, and it is in the simultaneous interplay between these two contiguities that the internal sense of self – different from both the collection of body parts and the collections of external objects – is encountered... My tactile surface is not only the interface between my thought processes and my physical existence as well. By rubbing up against the world, I define myself to myself." (Juhan: Körperarbeit: loc. cit. 1992, p. 34)
According to Anzieu ,the skin develops when an embryo is about two months old, before any other sensory organs. Then the nerve pathways in the brain for the other sensory organs for close stimuli develop, i.e. for smell and taste. The nerve pathways in the brain for the organs of equilibrium and those for remote stimuli, i.e., for sight and hearing, develop even later. Being touched is crucial for an infant's survival; a baby will die if it is not touched enough after birth.
"Babies stimulated by touch are more active, gain weight faster, and have better coordination. It is amazing how much information is transmitted through touch. Every other sense is focused on a specific organ, only touch is everywhere." (Diane Ackermann: A Natural History of the Senses. New York 1991, p. 74)
Experiment One: Single-celled Organism/Amoeba
In Body-Mind Centering, the cell is the physical manifestation of “great presence” for being aware, alert and in the moment. It lives only in the here-and-now. Being present is also an important element of Contact Improvisation. The focus is not on constructing or planning ahead, but rather on perceiving what is happening right now, letting it happen, letting oneself go, being in flow. The first exercise involves imagining yourself as a huge single-celled organism, a giant amoeba, consisting of a cell membrane (a skin) filled with cellular fluid and organelles Since two-thirds of the human body is made up of water, we will imagine, that the whole interior of the body is liquid,which can flow within the "bag" of skin. This bag is a flexible, semi-permeable membrane/boundary that can expand in all directions and adapt its shape to any obstacles it may encounter. Nancy Stark Smith uses a beautiful word for the space within the skin. She calls it skinesphere and contrasts it with the kinesphere , the space which surrounds the body. At first, the participants lie on their stomachs. They consciously feel where their bodies make contact with the ground as the ground begins to touch them. It is possible to feel this area of initial surface contact gradually increasing. Slowly the amoeba begins to move along the ground, covering space. Through this locomotion other areas of the skin are stimulated. There is the possibility to meet other amoebas, to touch and be touched by them. The participants should focus on becoming aware of the direction in which the movement develops and rather than directing it, let themselves be surprised by where the movement takes them. Cells are surrounded by nutrient solution--intercellular fluid—from which they absorb nutrients and into which they excrete wastes. I ask participants.“Does the movement quality feel different depending on whether you originate it in the skin (container), the cellular fluid (content), or the intercellular fluid (environment)?“ Then, is it possible to imagine the entire group of participants as a single entity in which the cells communicate as within an aggregate of cells or living tissue? The amoeba lends itself well to demonstrating the BMC principle of movement of 'SUPPORT & MOVER.' For this I will assume that those parts of the amoeba that are closer to the ground are heavier and have a stabilizing, supporting function. Those parts that are further from the ground will be assumed to be lighter and thus can move or be moved more easily. This is due to the fact that the organelles and membrane structures within the amoeba sink in accordance with the law of gravity . A next step could consist of trying to become aware not only of where the cell membrane makes contact with the ground or with a partner, but to try to feel where there are other boundaries, e.g. with the air or clothing. This leads to a more three-dimensional sensation of the body/cell.
Experiment Two: Moving as a Single Organism (Homologous Chromosomes)
One person lies face down on the floor, another lies with his or her stomach placed on the first person's back, head to head, arms on arms, legs on legs. The exercise involves both people moving like a single organism, trying to imagine that there is a single membrane surrounding them both. They try to get a feel for the boundaries of the entire organism. This involves feeling through the partner‘s body down to the ground and up to the upper partner’s back. Gradually, the organism begins to move slowly, without either of the two leading or following. "It" simply moves. After some time (perhaps up to 8 or 10 minutes) a differentiation of individual parts within the organism takes place, which, (after another 8 to10 minutes,) leads to cell division when the bodies separate completely. After this separation is it possible to sustain a sensation of moving as a single organism? The movement of the duet can develop spatially, from the skinesphere to the kinesphere, to moving the kinesphere through space, to going in and out of contact with other organisms. After the exercise, it is important for the partners to discuss their experiences and feelings, which may vary depending on whether a participant began by lying on top or on the bottom. I find it interesting to hear what is a shared experience and what remains individual. The shared experience often begins with a common breathing rhythm, goes on to include tiny, synchronized movements of the fingers and hands, and extends to feeling shifts of weight within the shared "double body." Individualization often begins with the extremities or with the emergence of two distinct heads. A sense of unity is provided by the feeling of a shared "center." One participant wrote, "I imagined two organs which can move around or shift within a body, but nevertheless always remain similarly positioned in relation to each other. I had no trouble imagining constrictions of the organism, for example when one head switched sides, but afterwards it was possible to melt back together into one entity."
Experiment Three: Skin and Brain
"The close link between the skin and the central nervous system is firmly rooted in human anatomy and physiology. All of the body's tissues and organs develop from the three blastemas of the early embryonic stage: The inner organs develop from the endoderm; the mesoderm produces connective tissue, bones, and skeletal muscles; the skin and the nervous system have their origin in the ectoderm. The skin and the brain develop from the same basic material." (Juhan: Körperarbeit, loc. cit., p. 119)
Anzieu poses the question: „Does not thinking have as much to do with the skin as with the brain?“ Via the central nervous system, the brain is in constant contact and exchange with the skin and its organs(of the skin).The skin as a whole contains approximately 640,000 sensory receptors, which are connected to the spinal cord via more than half a million nerve fibers. One square centimeter of skin harbors anywhere from seven to 135 tactile points. The fingers, toes, lips, and tongue have the most nerve cells per square centimeter; the back exhibits the lowest frequency. (Compare Wiebke Droege: Kontakt Improvisation als Erfahrungsraum - Ein Ansatz zur Erweiterung der Sinneswahrnehmung und Interaktion. Unpublished thesis. Bochum, 1996.)
The cerebrum is at the front and top of the brain. The outer layer of gray matter, which envelops the white matter, is called the cortex (Latin for rind). (see Anzieu page 20) Anzieu considers this {a}paradox:
"The center is at the periphery. The brain and the skin are inherently surfaces. The interior surface (in relation to the body as a whole), the cortex, is connected to the outside world through an exterior surface, the skin. And these two surfaces consist of at least two layers each, an outer one with a protective function, and one underneath, which functions as a filter that stores information and controls its exchange." (Anzieu: loc. cit., p. 20 f.)
Depending on your perspective, the skin can be considered the outer surface of the brain, or conversely, the brain can be considered the deepest layer of the skin.
The exercise: Person A sits or stands calmly while Person B lays his hands on the top of Person A's skull to help Person A imagine his or her own brain. Person A visualize], as clearly as possible, its shape, mass, volume, weight, consistency, the two "halves" or sides, the cerebrum, the cerebellum, and the extension from the brain stem into the spinal cord.
With a light and delicate touch of the fingertips, Person B strokes along the connection between the skull and the cervical vertebrae and from there to the face. While this is happening, A visualizes the connection between the spinal cord, via extending nerve fibers, to the sensory organs: eyes, ears, nose, mouth, and the vestibular cochlear system (the organ of equilibrium in the inner ear). The stroking motion from the back of the neck toward the front can be carried out repeatedly if desired. Then, from the lower cervical and the upper thoracic vertebrae, B strokes along A's shoulders and arms down to his hands. Then, starting at the thoracic vertebrae, gently from behind via the sides to the front, encouraging A to feel the connection to his inner organs. From the lumbar spine, B strokes over the pelvis (imagining that he or she is stroking along the curved inner surface of the pelvic bones) and then down Person A's legs to his feet. Taking the brain as a point of departure and going from there via the nervous system, Person A's task is to listen into the body and from there start to move with a continuous sensation of listening. Then the roles are reversed and A supports B in his or her visualizations with his/her touch.
"The nervous system underlies alertness and thought, and gives precision to our coordination. This system establishes the perceptual base from which we view and interact with our internal and external worlds." (Bainbridge Cohen: loc. cit., p. 3)
A duet exercise follows: A and B sit on the floor with their backs touching and slowly begin to move together, listening to their own movement impulses and those of their partner via the nervous system, through the skin into the body.The emphasis here is on listening rather than on consciously employing the brain as a center of command and control.
Experiment Four: Communicating Sensations through the Skin by Excluding Other Senses
The skin is almost always ready to receive stimuli and learn new codes without interfering with already existing ones. We can close our eyes or cover our ears, but we cannot "turn off" our skin. Although the skin is unable to disregard vibro-tactile and electro-tactile stimuli, the brain selects the stimuli it receives from the skin. Initial skin contact or changes in the quality of touch, which can range from gentle to piercing, are always transmitted to the brain cells. Continuous, low-level stimuli however remain in the background. Just imagine what sensory overload we would be subjected to if, for example, we were constantly aware of where our clothing touches our skin.
Using blindfolds and earplugs results in heightened awareness of the surrounding space and the partner through the skin and kinesthetic perception . These senses must work together more closely than usual. Like the skin, the proprioreceptors for kinesthetic perception are distributed all over the body, in the muscles, the connective tissue surrounding the muscles, joints, tendons and ligaments. (Compare Droege: loc. cit., p. 59)
The rules of the game: a time limit of 20 or 30 minutes . Everyone is blindfolded and wearing earplugs, there are no seeing participants who could provide protection. Use the entire body, not only the hands, for orientation. No fast running or jumping.
Partners spread out across the room and put on the blindfolds and earplugs. They begin moving in physical contact. The action should be initiated from a state of calm. Again, the key word is listening, to one's own movements and the physical messages coming from the partner.
In the course of the experiment, the partners can separate; solo or group phases are possible.
Altered perception leads to different movement decisions. With earplugs on, listening to one's own breathing can sometimes feel as if one were underwater. Feelings of isolation and loneliness can also arise when there is no contact and one doesn't know where the others are. On the other hand, a 100%-contact situation arises when I touch someone without advance warning. And there is the thrill of exploration: Who and what am I touching? Movements generally become softer, the body more permeable.
Experiment Five: Clothing as a Second Skin
The term "second skin" could be misleading here, since clothing transmits stimuli directly to the skin, which thus remains the reacting organ. I would like to focus more on the colloquial use of the term and the associations it evokes. At the beginning of this experiment, one person ( A), is blindfolded. Person B uses a large piece of cloth (a sheet perhaps, or a big towel) to incite A to move. A can lead or move independently, but B takes responsibility for making sure that A doesn't injure him/herself. The stimuli that B gives can range from subtle and delicate to rougher and more active, such as dragging A on the cloth or hitting her/him with it or throwing it. B can lead A as if on a leash or vice versa. The roles are exchanged repeatedly for periods of about six to ten minutes. It makes sense to work with half the group at a time so that the others have an opportunity to observe and empathize with the active participants. Smaller groups also offer more room for running and jumping through the space. In the next phase, the cloth is put aside and both partners' eyes are open as they dance a contact duet, communicating with each other through their clothing as their second skin. Participants should wear sturdy clothing to avoid the need of being overly careful. New impulses can be given through the clothing; in a joyful and playful manner, shifts in balance and lifts can be executed in unfamiliar ways.
Experiment Six: Landscape and Explorer
In his book „Job’sBody“ under the heading, NEURAL MAPS, Deane Juhan writes: "In order to determine the exact location of a stimulus on the body's surface, the brain draws on the precise spatial organization of the neurological pathways. Nerve endings that are next to each other on the skin send their signals through parallel neurons that in turn end in specific, adjacent cell bodies in the sensory cortex... The spatial relationship between the various peripheral areas is thus maintained in the parallel nerve fibers and "mapped" onto corresponding zones of the cortex, where they form the well-known 'sensory homunculus.'"
The body as a landscape and the miniature maps of the body on the cerebral and cerebellar cortises can be explored and stimulated in a partner exercise I call 'LANDSCAPE AND EXPLORER:' To begin, Person A (bodyscape) lies on the floor in a comfortable position and offers his/her body as a “resting” landscape to be explored by Person B (explorer). B can explor not only with a light touch but their whole body can take an excursion on A’s bodyscape. Here, the skin, in its function as a boundary, elicits an exploration of one's own limits and those of one's partner. The landscape is understood to be a "protected area," a kind of "national park," so to speak. The landscape moves only on its own volition and the explorer is not out to change the landscape. The explorer is in unknown territory which involves certain risks, in which it is permissible to be daring while being sensitive to not violating the partner's boundaries. On this "trip" through, over, under the bodyscape, "rest areas" appear along the way, areas of calm, where the explorer can stop to enjoy the beauty of the landscape After a few minutes of just being and not moving the landscape (Person A), can begin to transform its shape like a shifting sand dune to another formation. After another few minutes the landscape will change again, may be into a flat alluvial plain, or hilly country, the Grand Canyon or the Dolomites, a desert, a rainforest, or an ocean. Some landscapes are peaceful, others are romantic or dramatic. Then the landscape starts to move, transforming more continuously and can surprise the explorer with earthquakes, landslides, avalanches, floods, and volcanic eruptions. Partner A’s bodyscapes can shift from lying to standing, or move through space. After fifteen to twenty minutes, a final rest area appears and the roles are reversed. Person B becomes the landscape and A is now the explorer. Afterwards the participants discuss their experiences. They often find that their experiences as a landscape or explorer are quite different. Many find it pleasant to be the landscape, to be relaxed, not to have to question everything that takes place, not to have to behave in a politically correct manner, but rather be able to break out, to explode, be unfriendly or completely still, not have to react, not have to act at all. Explorers are allowed to be adventurous and curious, but often report that they feel under pressure to act. After this first round the same partners engage in a dance where there is no previous agreement on who is to be the explorer and who the landscape. Rather, they alternate freely and continually. Each partner is supposed to know what he is at a given moment, though that is not always easy to distinguish. Then they discuss again. This can be followed by a phase in which half the group alternates watching the other half work with the last exercis] to try to sense what the dancers/partners are feeling. In contrast to Contact duets, in which a single dynamic usually prevails between partners, the dynamic qualities and directions of the movement are often changing. Frequently there are visible shifts between micro- and macrocosm: participants can lose themselves in details the size of a dust mote or go on expansive excursions through space.
Experiment Seven: Contact and Retina
In Contact duets the gaze is often directed inward, the focus is often placed on feeling, sensing. Frequently, the dancers seem to have little awareness of the space around them. It often seems as if the duets take place under an invisible glass bubble. I find it more interesting to see how many different aspects we can be aware of simultaneously while dancing. Can we feel what is happening inside ourselves and at the same time feel what is happening with our partner? Is it possible at the same time to be aware of the space and other couples around us or at the other end of the room? Can we do all this and still be aware of an ambulance passing by outside with its siren blaring? How complex is our perception of ourselves and our environment? As the previous exercises involved shutting out the sense of sight to increase the sensations of touch; the next involves consciously employing the eyes: "touching the retina." Rather than consciously seeking out what we wish to see, like an eagle or a hunter, we can let images '"fall" through our eyes into our head like light falls through a window. In this exercise we ask ourselves to recognize people, objects, and space, to ascertain differences of light and shadow, eye and hair color without evaluating them , judging whether they are good or bad, beautiful or ugly. For 'CONTACT AND RETINA,' two people sit across from each other and look into each other's eyes. While maintaining eye contact they alternate between looking into themselves, turning their senses inward, and looking into their partner's eyes, penetrating him/her with their gaze. After five or six minutes, the partners both begin to move, still maintaining eye contact. They are free to approach or touch their partner, be "in contact" or "out of contact," at any distance. During the entire time, both partners continuously alternate between directing their gaze inward and outward. A look combined with a touch can be very intimate, sometimes even embarrassing. However, in discussions with participants, I have found that the dancers usually deal with each other in a very playful way. Many say that encounters on new levels open up to them by dancing not so much with a body as with a whole person.
Comments
Is it possible to generalize what happens between the Contact dancers, what is being transmitted between their skins and bodies? What sort of meaning does this communication carry? Contact duets usually take the form of a dialogue. Movement is proposed and either accepted or rejected. Requests are made and either complied with or not. A way of touching can suggest a direction – high, low, right, left, straight ahead, maybe even diagonally-back-up. There can be a clear intention involved in the touch, as with certain massage techniques, for example to ease tensions or to convey a sense of the body's length and dimensions. Communication through the skin allows us to interact in a more flexible, maybe even more sensuous, joyful way. Communication via the skin also involves dealing with limits and boundaries, my own and my partner's – flexible, porous boundaries with limits that we define and are free to redefine. Sometimes, when dancing alone or with a partner or partners, we enter into states that we cannot describe, but only experience. It is possible to create meaningful relationships in the moment, for the moment.
"The skin is no more distant from the brain than the surface of a lake from its depths; both are different sites in an inseparable medium. 'Peripheral' and 'central' are merely terms for spatial distinctions, and do more damage than good if they seduce us into forgetting that the brain is a functional unit, from the cortex to the fingertips to the toes. Whoever touches the surfaces moves the depths." (Juhan: loc. cit., p. 131)
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I would like to express my heartfelt thanks to Wiebke Droege, Joerg Hassmann, Andrea Keiz, Mathis Kleinschnittger, Kurt Koegel, Robert Kreitz, Clemens Maurer, Gabriele Meseth, and Antje Schur for their invaluable suggestions, feedback, and support in writing this article. I would also like to thank Lisa Nelson for her tremendous help and care in editing this text for Contact Quarterly.
Bibliography Ackerman, Diane: A Natural History of the Senses. Vintage Books. New York, 1991 Anzieu, Didier: Das Haut-Ich. Frankfurt am Main, Suhrkamp, 1996 Bainbridge Cohen, Bonnie: Sensing, Feeling and Action. The Experiential Anatomy of Body-Mind Centering. Contact Editions. Northampton, MA 1993 Droege, Wiebke: Kontakt Improvisation als Erfahrungsraum – Ein Ansatz zur Erweiterung der Sinneswahrnehmung und Interaktion. Unpublished thesis. Bochum, 1996 Hartley, Linda: Wisdom of the Body Moving. An Introduction to Body-Mind Centering. Berkeley, 1995 Juhan, Deane: Körperarbeit (Job’s Body) Die Soma-Psyche-Verbindung. Munich, 1992 Koegel, Kurt: Haut und Membran, Grenzen und Öffnungen in Tanz und Architektur. Unpublished lecture, *Bau *Körper *Bewegung III, Hamburg, 2002
The original German text of „Hautsache Bewegung / Moving from the skin“ will be published in the yearbook 2003 of Gesellschaft für Tanzforschung , LIT Verlag Münster, Editors Antje Klinge und Martina Leeker
